Horror movies have always found receptive audiences in their home countries. Finally, the genre's most colourful and least familiar directors and stars are given their due in this wide-ranging collection of articles and interviews from a fine assembly of renowned world horror experts. sDiscover such hidden treasures of world cinematic horror as Singapore's pontianak cycle, 1930s Mexican vampire movies, Austrian serial killer flicks, Germany's Edgar Wallace krimis, Bollywood ghost stories, Indonesia's penanggalan tales, the Chinese take on Phantom of the Opera, and the Turkish versions of Dracula and The Exorcist. s24 pulse-pounding chapters with selected filmographies and scores of images from the movies under discussion, including a stunning 16-page full-colour section! Book jacket.

Over the last two decades, Japanese filmmakers have produced some of the most important and innovative works of cinematic horror. At once visually arresting, philosophically complex, and politically charged, films by directors like Tsukamoto Shinya (Tetsuo: The Iron Man [1988] and Tetsuo II: Body Hammer [1992]), Sato Hisayasu (Muscle [1988] and Naked Blood [1995]) Kurosawa Kiyoshi (Cure [1997], Séance [2000], and Kaïro [2001]), Nakata Hideo (Ringu [1998], Ringu II [1999], and Dark Water [2002]), and Miike Takashi (Audition [1999] and Ichi the Killer [2001]) continually revisit and redefine the horror genre in both its Japanese and global contexts. In the process, these and other directors of contemporary Japanese horror film consistently contribute exciting and important new visions, from postmodern reworkings of traditional avenging spirit narratives to groundbreaking works of cinematic terror that position depictions of radical or 'monstrous' alterity/hybridity as metaphors for larger socio-political concerns, including shifting gender roles, reconsiderations of the importance of the extended family as a social institution, and reconceptualisations of the very notion of cultural and national boundaries.

As global cinema becomes increasingly difficult to distinguish, characterizations of horror films from various geographical and cultural locations seem more fluid and transitional than ever before. However, this does not mean denying the existence of national features that affect and are reflected in horror films, whether from an artistic or a reception standpoint. Horror is one of the most studied genres in cinema, yet none of the many books on the subject focus on films or traditions outside the United States or the United Kingdom. While Italian, Japanese, Mexican, German, and Hong Kong horror films have received a modicum of critical recognition, the areas of Egyptian, Romanian, Belgian, Dutch, New Zealand, and Thai horror all still need-in fact, demand-some attention. Horror International seeks to rectify this by giving the global perspectives and cross-cultural dynamics of world horror cinema its due. This groundbreaking collection of eighteen original essays examine a myriad of films, showing how each draws from Hollywood horror conventions and also local cinematic traditions, local folklore, and national historical and cultural concerns. The production, marketing, and reception of various national cinemas are also addressed, demonstrating how these films are understood by different audiences worldwide. This in turn sheds new light on the original cultural production of many works and their subsequent "translations" and meanings in different national contexts. The diverse and highly informative essays in Horror International will engross both scholars and fans of horror films and finally illuminate the distinct multicultural factors of this exciting cinematic genre.

Bollywood movies have been long known for their colorful song-and-dance numbers and knack for combining drama, comedy, action-adventure, and music. But when India entered the global marketplace in the early 1990s, its film industry transformed radically. Production and distribution of films became regulated, advertising and marketing created a largely middle-class audience, and films began to fit into genres like science fiction and horror. In this bold study of what she names New Bollywood, Sangita Gopal contends that the key to understanding these changes is to analyze films’ evolving treatment of romantic relationships. Gopalargues that the form of the conjugal duo in movies reflects other social forces in India’s new consumerist and global society. She takes a daring look at recent Hindi films and movie trends—the decline of song-and-dance sequences, the upgraded status of the horror genre, and the rise of the multiplex and multi-plot—to demonstrate how these relationships exemplify different formulas of contemporary living. A provocative account of how cultural artifacts can embody globalization’s effects on intimate life, Conjugations will shake up the study of Hindi film.

"Without Borders" considers the relationship between illness and context. This important book reveals the impacts historical and political global structures have had on humanity. These include slavery, racial and religious segregation, migration, war, economic inequality and social conflict. Vargas Echegaray is an epidemiologist who, in these pages, candidly shares his experiences of dealing with emergent diseases while also striving to find love.

Our compassion and sensitivity for each other should not be limited by boudaries or contained within illusionary boundaries or borders. My allegiance is to the word of God, the love of life and to the message. My loyalites are to truth,altruism,non-violence, mercy,justice, and the protection of the weak, the feeding of the hungry, the freeing of the imprisoned, the respect for those whose language i cannot speak, the culture different yet equal to mine,the understanding that we are all on the same level and these truths are sheparding me in quiet gentleness on the golden pathway which is paved in humility,servitude and universal love for one and all. This is the premise of my book: "Without Broders". This is done in free-verse poetry and prose essays. I hope you enjoy it. Namaste

States define who their citizens are and exert control over their life and movements. But how does such power persist in a global world where people, ideas, and products constantly cross the borders of what the states see as their sovereign territory? This groundbreaking work sets to examine and interprets such challenges to offer a new way of thinking about citizenship. Abandoning the sovereignty principle, it develops a new image of citizenship using the connectedness principle. To do so, it interprets acts of citizenship by following "activist citizens" across the world through case studies, from Wikileaks and the Gaza flotilla to China's virtual world and Darfur. Written by a leader in the field, this accessible and original work imagines citizens without frontiers as a politics without community and belonging, inclusion without exclusion, where the frontier becomes a form of otherness that citizens erase or create. This unique work brings forth a new and creative way to approach citizenship beyond boundaries that will appeal to anyone studying citizenship, social movements, and migration.

The draft Audiovisual Media Services (AMS) Directive, published in December 2005, was met with some alarm. It sought to extend the existing 'Television without Frontiers' Directive to new services which were seen to be competing for audience and revenue. In doing so it would have introduced inappropriate regulation on the new media sector. There have now been some changes to the original draft and a tightening of the definition of "television like" services. Although an improvement, the Committee is concerned that there is still not enough legal certainty. They are also worried about the need to defend the 'Country of Origin' approach to single market legislation and reject the idea that regulators should act to preserve the market dominance of existing players from new entrants. They are also unconvinced of the need for any quantitative restriction on advertising.

Bringing together classic and new writings of the trailblazing feminist theorist Chandra Talpade Mohanty, Feminism without Borders addresses some of the most pressing and complex issues facing contemporary feminism. Forging vital links between daily life and collective action and between theory and pedagogy, Mohanty has been at the vanguard of Third World and international feminist thought and activism for nearly two decades. This collection highlights the concerns running throughout her pioneering work: the politics of difference and solidarity, decolonizing and democratizing feminist practice, the crossing of borders, and the relation of feminist knowledge and scholarship to organizing and social movements. Mohanty offers here a sustained critique of globalization and urges a reorientation of transnational feminist practice toward anticapitalist struggles. Feminism without Borders opens with Mohanty's influential critique of western feminism ("Under Western Eyes") and closes with a reconsideration of that piece based on her latest thinking regarding the ways that gender matters in the racial, class, and national formations of globalization. In between these essays, Mohanty meditates on the lives of women workers at different ends of the global assembly line (in India, the United Kingdom, and the United States); feminist writing on experience, identity, and community; dominant conceptions of multiculturalism and citizenship; and the corporatization of the North American academy. She considers the evolution of interdisciplinary programs like Women's Studies and Race and Ethnic Studies; pedagogies of accommodation and dissent; and transnational women's movements for grassroots ecological solutions and consumer, health, and reproductive rights. Mohanty's probing and provocative analyses of key concepts in feminist thought—"home," "sisterhood," "experience," "community"—lead the way toward a feminism without borders, a feminism fully engaged with the realities of a transnational world.

EDUCATION / Urban